bad-dominicana:

thereverseracist:

bad-dominicana:

the plagiarizing-ass, faux-street, corporate-dummy andre the giant/OBEY/shepard fairey can kick rocks. people who root for these wanna-be street artists usually dont know jack shit about the history of street art and dont bother to find out shit about shepard faireys known plagiarism among graff writers.

rooting for the fuckin millionaire posers who jack all the smaller, lesser known REAL street artists (andre’s dad is a publicity big wig and got him an in at corporations—he faked the funk the whole way and doesnt even do his own art, usually, most of the time he pays others to take the risk, the fuck is that shit?! hes a rich kid who got everything handed to him and gets credit for taking up POC’s art—- street art that gets them killed and jailed, and white boys like him venerated, w people of all colors wearing his hats and clothes that say “OBEY”. yeah thats the last person you should be fucking patronizing w such appeasements to their ego—a poser fucking plagiarist, appropriative upper class spoiled white boy? please DONT obey at all.),

observe all the “street cred” him and banksy get as they get as they go home to sleep in the comfy ‘burbs and lofts after all their exaltation for shit that gets the real innovators of that art form criminalized? banking on other peoples struggles and genius is what they are famous for. 

think about how 2 uppity white boys are the faces of street art…an art form started by POC who are still marginalized and criminalized for it.

what they are cheered on for is simply poverty tourism (coz for their types, visiting poor urban areas is what gives them cred, as if we dont fucking live there all the time), straight out plagiarism of artists of colors revolutionary images in addition to the appropriation of street art (in Obeys case and mind you he bit F.U.K.T.s line entirely too back when he first started. i cant even find links to it but if you dig you will find it) and urban cultural appropriation. shepards retort was he donates to african children and collabs w black people so he can steal as much as he wants from  POC (including native american and other *tribal* prints to profit off w his clothing line).

come the fuck on. dudes the epitome of everything thats wrong w corporate-sanctioned art.

people act like hes “genuine” and “credible” and show off his tees like theyre counterculture when youre just rooting for the racist fucking system in the end. :|

Let’s not forget about the entire artists collective that came up with Fairey. All of them had major roles in the exploitation of graffiti culture. It goes to show how much race plays a part in assigning value. Whiteness for some fucked up reason contributed to the marketability of an artform that was once known as vandalism.  

That influence that whiteness maintains in being able to change the opinion of graffiti from something that was trash-like to something that is gallery-worthy treasure goes way back. Try googling Julio 204 and watch all the results lead to Taki 183. Taki being a white dude and throwing up in nicer neighborhoods landed him in newspapers! Julio 204, a Puerto-rican cat,  is rarely even talked about. And all for what? Taki 183 remains revered as one of the firsts to do it up. Which is always upsetting because Cornbread and Cool Earl, the true originators, are almost always erased from history.

I feel like I write about graffiti a lot, but it still hits a nerve when I hear Fairey being called one of the greatest or even Banksy. Bansky throws up stencils! S T E N C I L S! How one manages to gain such a following and notoriety over embarrassing stencils is mind blowing. Not to mention Fairey wheat pastes. What’s next? A white dude gaining sticker-art fame? 

blaaaaaaah. Shout outs to the toys shitting on the culture thinking Marc Ecko, Fairey, and Banksy are people worth looking up to. I’d rather mesmerize over some FUTURA or  over my friends (and their enemies ;P) people who are actually putting in work carrying mad spray cans to finish a piece. 

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